NYFF 2020: On the Rocks
apple tvAfter an incredible start to her career with The Virgin Suicides and Lost in Translation, filmmaker, Sofia Coppola has gone on to have a polarising career that either gives audiences deep revelations with her natural capturing of life or leaves audiences cold with weaker narratives that often are extremely meditative and quiet. Teaming back up with Bill Murray from Lost in Translation, the filmmaker's newest feature On the Rocks once again acts as a slow and grounded emotional exploration, this time, on love; a young woman named Laura (Rashida Jones) seeks the help of her father, Felix (Bill Murray) once she begins to question if her husband, Dean (Marlon Wayans) is having an affair. Where the film contains Coppola's signature quiet perception of life, it also finds a worthy weight that comes together into a stunning third act, rounding out one of the filmmaker's best efforts in decades.
As is the case with the vast majority of Sofia Coppola projects, the first thing to stand out in the film's realistic interpretation of New York City and a life lived between the skyscrapers is the visual style the film takes on. The cinematography from Philippe Le Sourd is truly stunning in its extreme high definition yet what elevates the visuals to the next level is the lighting design. Countless shots within On the Rocks implement lighting choices completely unique to this film alone that pushes the standard definition for what lighting should be. From dark rooms where shadows swallow the main characters to putting the focus of the light and camera on a piece of art treating the main characters as almost figures in the background, this is a film that very casually takes great risks which absolutely pay off.
Where the world this film lives in feels engaging from the start, the story takes its time to grow on the audience. Coppola has struggled in the past to create captivating representations of real-world life, often creating stories so lost in the natural meander of life that they sacrifice the drama and pull that a film should have. On the Rocks might suffer from this at the start, but as the plot develops, the film quickly finds an angle to engage the audience and pull them in. The drama regarding the possible infidelity of Dean acts almost as a trojan horse for a much deeper and complex emotional exploration that sneaks up on the audience.
From the start of the film, it is clear that something is off within the relationship between Laura and her father. Both Rashida Jones and Bill Murray are masterfully subtle in how they communicate their emotions with each other, never giving too much away but rather successfully reflecting a natural tension that will stick out to plenty of viewers. As the relationship between these characters is pushed, more and more details are revealed, leading to an emotionally devastating third act where Rashida Jones and Bill Murray are able to finally let go and unleash their characters’ emotions in glorious fashion. The actual emotions being represented are raw and painful, giving the film a worthy third act that also isn't defined by its pain. The film might explore, at its core, how ghosts from the past can affect love, but it doesn't erase the power that is held within that current love. Ultimately, On the Rocks is a film about finding love even in the face of past pain and the danger that mixing the two can have.
Even for those who have felt a disconnect from Sofia Coppola's other recent works, On the Rocks is definitely worth checking out once it launches on Apple TV+ in October. The film is undeniably slow at points, with many of Coppola's signature stylistic choices that are extremely hit or miss for each individual audience member. But the film takes the next step, finding a captivating story and conclusion that feels well-built and recontextualises the film for future viewings. On the Rocks might not be a complete masterpiece that will be in the conversation for best films of the year, but it is rewarding and moving.
